Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2087713
L. Etxepare
The Mediterranean Sea separates the French architectural works of Joseph Hiriart (1888–1946) from his Tunisian buildings in North Africa. Among the former are Villa Leihorra (1926) and other works of the late 1920s that were built on the French Basque coast. These were preceded by the La Maîtrise pavilion (1925), which was designed by Hiriart in collaboration with Georges Tribout and Georges Beau on the occasion of the ‘International Exhibition of Modern Decorative and Industrial Arts’ that was held in Paris in 1925. These pieces of architecture form the most published and recognised part of the career of Hiriart, a master of Art Deco and a key architect in the interwar period. However, the same is not true of his Tunisian works that span from 1927 to 1936 because, despite the obvious and consistent interest in them as they provide additional features which complement his French works, their dissemination has been incomplete and limited to brief mentions. The paper sets out Hiriart’s biography and best-known works, and then focuses on his time in Tunisia, providing an overview of the architectural projects he carried out there and framing them in the colonial context with the aim to fill this historical void and restore the Tunisian part of his architectural work.
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2132027
Deljana Iossifova, Doreen Bernath
In this double issue of The Journal of Architecture, authors question the power of architectural agency and explore the role of architecture in socio-environmental transitions through the analysis of various forms of encounter. They ask if and how architecture has the power to transform entrenched ways of being and acting in this world. Just how much can architecture change and reconfigure existing social patterns? Conversely, how are changing social structures and relationships reflected in the transformation of architecture, and how and what it represents? These questions are, of course, tied with that of the role of ‘the architect’. The diversified endeavours in reconstructing, envisioning, translating, altering, and consolidating are interrogated through articles set out to examine architects who occupy specific positions in the history of architecture. By rewriting these historical instances in the light of today’s debates, precisely to re-evaluate their roles in relation to unsung influences and relations, unrecognised contextual processes and forms of work, the pedestal of authorship is replaced with the revelation of a necessary plural and multivalent practice — the many and the together in ‘the architect’. The notion of ‘encounter’ is intrinsic, as argued by Mariana de Oliveira Couto Muszyński, to Bartolomeu Costa Cabral’s approach to architectural design, and in particular the project that combined a primary school and a public bathhouse in the Castle district of Lisbon. She reminds us— in (still) pandemic times— of the purpose of public buildings: to enable encounter and transaction between human beings. In her study, she demonstrates how Costa Cabral went against the grain of the expected language of design of his time to explore contextually, socially, and pedagogically responsive spatial arrangements that contribute to not only the paradigm shift of school design in the post-war era but also the provision of communal spaces where architecture becomes the agency of social transformation. She highlights the radical belief that, indeed, architecture can change the way in which we exist in and relate to the world. Similarly, Gary Boyd traces how Britain’s over six hundred pithead baths were designed and developed as part of a ‘colossal social experiment’, which was a consequence of the encounter between the cooperative stance of the Miners’ Welfare Commission in the 1920s and 30s, and the innovative, modernist language of design by the architectural team, manifesting civic aspirations against the outdated technologies of the mining industry itself. Their introduction showed impact on society far beyond the limits of the work place. The notion of co-creation is relevant to Ecem Sarıçayır’s discussion of Frank van Klingeren’s ‘open architecture’ in the Netherlands of the 1960s and 70s. Deljana Iossifova
在本期的《建筑杂志》中，作者对建筑机构的权力提出了质疑，并通过分析各种形式的相遇，探讨了建筑在社会环境转型中的作用。他们想知道建筑是否以及如何有能力改变这个世界上根深蒂固的存在和行为方式。建筑能在多大程度上改变和重新配置现有的社会模式?相反，不断变化的社会结构和关系如何反映在建筑的转型中，它如何以及代表什么?当然，这些问题都与“建筑师”的角色联系在一起。在重建、设想、翻译、改变和巩固方面的多元化努力，通过文章来审视在建筑史上占据特定位置的建筑师。通过在今天的辩论中重写这些历史实例，准确地重新评估它们在默默无闻的影响和关系、未被认可的语境过程和工作形式方面的作用，作者身份的基座被必要的多元和多价值实践的启示所取代-“建筑师”中的许多和共同。Mariana de Oliveira Couto Muszyński认为，“相遇”的概念是Bartolomeu Costa Cabral建筑设计方法的内在，特别是在里斯本城堡区将小学和公共澡堂结合起来的项目。她提醒我们——在(仍然)大流行的时代——公共建筑的目的是:使人与人之间能够相遇和交流。在她的研究中，她展示了Costa Cabral如何与他所处时代的设计语言背道而驰，探索上下文，社会和教学响应的空间安排，不仅有助于战后学校设计的范式转变，还有助于提供公共空间，其中建筑成为社会转型的代理。她强调了一种激进的信念，即建筑确实可以改变我们生存和与世界联系的方式。同样，Gary Boyd追溯了英国600多个矿井浴池是如何设计和发展的，作为“巨大的社会实验”的一部分，这是20世纪20年代和30年代矿工福利委员会的合作立场与建筑团队创新的现代主义设计语言之间相遇的结果，体现了公民对采矿业本身过时技术的渴望。他们的引入对社会的影响远远超出了工作场所的限制。共同创造的概念与Ecem Sarıçayır在20世纪60年代和70年代荷兰对Frank van Klingeren的“开放式建筑”的讨论有关。Deljana Iossifova
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2106580
Simon Weir
The penultimate chapter of Rem Koolhaas’ Delirious New York (1978) begins with: ‘In the mid-thirties both Salvador Dali and Le Corbusier — they hate each other — visit New York for the first time’. Koolhaas inventively rewrites Dalí’s ‘paranoid critical method’, then announces in the part ‘Combat’ that Le Corbusier is diagnosed paranoid, followed in ‘Otherwordliness’, by the claim that architecture is inevitably the result of paranoid critical activity, and concrete is described as the method’s purest embodiment. Anyone familiar with Dalí’s writings would recognise Koolhaas’ choice of Le Corbusier as an opponent. In the 1920s, Dalí wrote admiringly of Le Corbusier, but in the 1950s Dalí wrote about Le Corbusier so critically that by the 60s it turned comically vicious. Dali advocated light, soft, and curved buildings, and found Le Corbusier’s concrete architecture horribly heavy, materially and metaphorically. When Koolhaas introduces the antagonism between Dalí and Le Corbusier in Delirious New York, no mention is made of Dalí’s remarks about concrete. Instead, concrete is Koolhaas’ choice as the exemplar of the paranoid critical method. Dalí wrote about his surrealist creative process — the paranoiac-critical method — in the 1930s, amid two theories of paranoia: constructionalist and anti-constructionalist. Dalí, along with Jacques Lacan, was resolutely anti-constructionalist. Neither of these terms has any currency in contemporary theories of paranoia, but Surrealism valued the mythos of the mad artist and these two theories of paranoia had artistic practices associated with them. By avoiding Dalí’s disdain for Le Corbusier’s concrete architecture, Koolhaas’ theory for an architectural surrealism of paranoid critical activity extends Dalí’s anti-constructionalist method into a distinctly new architectural surrealism.
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2126161
Maroš Krivý
Not long ago, I ended up sitting through the review of an undergraduate workshop on design and biocomputation. Students fermented beetroot skins, fallen leaves, and other organic waste by mixing it with yeast, sugar, and vinegar, then layered and dried the mixture to create a series of what looked like crispy flatbreads. There was a lot of daydreaming concerning how the process could be scaled up to design spontaneous urban landscapes. The revealing moment came when a student reported that they struggled to prevent the organic mass from curling up while drying, prompting the tutor to retort by questioning the premise of the student’s point. Why not embrace the process instead of forcing it? Why not make a time-lapse of the fermenting beetroot and digitise it? And why then not iterate the transformation with varying parameters, to boldly experiment with a future city form? I was reminded of this episode while reading Ginger Nolan’s Savage Mind to Savage Machine, a ground breaking study that examines the intersections of technoscientific rationality and the attunement to the natural in twentiethcentury design. The book does a marvellous job in illuminating the epistemic substrate and enormous complications of the seemingly logical precept of designing with, not against, nature within the subfields of industrial design, architecture, environmental design, and media arts. Modern design, Nolan argues, was premised on an epistemic divide between the reflexive designer on the one hand and, on the other, the savage deemed unconscious of their own mode of thought. The latter category — at times described as ‘the primitive’ or ‘the magical’ — encompasses not only various colonised, indigenous peoples, but also a range of other subjects presumed to lack self-consciousness: urban ethnic minorities, manual workers, women, and children. Nolan introduces the term racial science to describe representations of cognitive difference that are more insidious than the effects of scientific racism (using scientific methods and authority to justify racial inequality). Similar to the noble savage trope, racial science neutralises ethnically and otherwise marginalised people by affirming their cultures as formed through natural force, as Review by Maroš Krivý Canadian Centre for Architecture Montreal Estonian Academy of Arts Tallinn, Estonia maros.krivy@artun.ee mkrivy@cca.qc.ca 463 The Journal of Architecture Volume 27 Numbers 2–3
不久前，我坐着看了一篇关于设计和生物计算的本科生研讨会的综述。学生们将甜菜根皮、落叶和其他有机废物与酵母、糖和醋混合，进行发酵，然后将混合物分层晾干，制成一系列看起来像酥脆面饼的东西。有很多关于如何将这个过程扩大到设计自然城市景观的白日梦。当一名学生报告说，他们在干燥过程中努力防止有机物质卷曲时，揭示了这一点，这促使导师通过质疑学生观点的前提来反驳。为什么不拥抱这个过程，而不是强迫它呢?为什么不把发酵的甜菜根拍下来并数字化呢?那么，为什么不使用不同的参数来迭代转换，大胆地尝试未来的城市形态呢?我在阅读金格·诺兰(Ginger Nolan)的《从野蛮思维到野蛮机器》(Savage Mind to Savage Machine)时想起了这段话，这是一部突破性的研究，探讨了20世纪设计中技术科学理性与自然协调的交叉点。在工业设计、建筑、环境设计和媒体艺术的子领域中，这本书在阐明认知基础和看似合乎逻辑的设计原则的巨大复杂性方面做了了不起的工作。诺兰认为，现代设计是以一种认知上的分歧为前提的，一方面是反思的设计师，另一方面是被认为对自己的思维模式没有意识的野蛮人。后一类——有时被描述为“原始”或“神奇”——不仅包括各种被殖民的土著民族，还包括一系列被认为缺乏自我意识的其他主体:城市少数民族、体力劳动者、妇女和儿童。诺兰引入了“种族科学”一词来描述认知差异的表征，这种表征比科学种族主义(利用科学方法和权威为种族不平等辩护)的影响更为阴险。类似于高贵的野蛮人的隐喻，种族科学通过肯定他们的文化是通过自然力量形成的，从而使种族和其他边缘化的人中立，正如marosi的评论Krivý加拿大建筑中心蒙特利尔爱沙尼亚艺术学院塔林，爱沙尼亚maros.krivy@artun.ee mkrivy@cca.qc.ca 463建筑杂志第27卷2-3号
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Pub Date : 2022-04-03DOI: 10.1080/13602365.2022.2086153
G. Boyd
Drawing extensively on previously unseen archival material, this paper examines the development and evolution of the Miners’ Welfare Committee pithead baths programme from its initiation until 1939. It argues that the function of aesthetics seen in the mature forms of these buildings in the 1930s emerged from a response to the particularly complex and controversial conditions that surrounded the mining industry. It explores how the forms realised — and praised by Anthony Bertram and Nikolaus Pevsner amongst others — were the endpoints of a long process, one which had involved the negotiation of legislative and economic landscapes, and the engagement of scientific and hygienic theories. This process also drew upon critiqued and adapted international precedents in both bathing and civic buildings before alighting upon an architectural language that was not only flexible enough to respond to the precise criteria of washing large numbers of miners but also, when combined with other media, could communicate the value of such facilities to what were often sceptical audiences within traditionally conservative mining communities. Attuned to this range of functions, the result was a highly conspicuous and significant generation of over six hundred buildings that were iterative and underpinned by common principles, yet capable of variation within their organisation, interior and exterior forms, and components. This paper also explores the significance of these buildings not only within these qualities but also in the modern aesthetics of light, space, and air they invoked. Furthermore, the paper reveals the effects of their existence outside the collieries on other less visible protagonists — the women of the coalfields and their families — whose domestic circumstances were simultaneously transformed.
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Pub Date : 2022-03-28DOI: 10.4305/metu.jfa.2022.1.6
Evren Ülkeryildiz, Gaye Topa Çiftçi
serial are analyzed as a sample, and how the informal social control norms transform into an alternative authority representation through the phenomenon of ‘place’ is investigated by using a descriptive analysis method. Within the scope of this study, the findings regarding the space-based power simulation dimensions of the TV series of Çukur produced by the territorial (regional) cognition are examined from three perspectives, these are; 1. space-meaning relationship (sense of place, place attachment and place identity), 2. space-occupation (appropriation of space and sovereignty) relationship, 3. space-privacy relationship. As a result of the research, it is emphasized that the social control that constitutes the power cannot be considered apart from the space and this situation results in the production of power through space.
{"title":"Mahalle Ölçeğinde Mekân Üzerinden İktidar Üretimi: Çukur Dizisindeki İktidar Temsillerinin Çözümlemeleri","authors":"Evren Ülkeryildiz, Gaye Topa Çiftçi","doi":"10.4305/metu.jfa.2022.1.6","DOIUrl":"https://doi.org/10.4305/metu.jfa.2022.1.6","url":null,"abstract":"serial are analyzed as a sample, and how the informal social control norms transform into an alternative authority representation through the phenomenon of ‘place’ is investigated by using a descriptive analysis method. Within the scope of this study, the findings regarding the space-based power simulation dimensions of the TV series of Çukur produced by the territorial (regional) cognition are examined from three perspectives, these are; 1. space-meaning relationship (sense of place, place attachment and place identity), 2. space-occupation (appropriation of space and sovereignty) relationship, 3. space-privacy relationship. As a result of the research, it is emphasized that the social control that constitutes the power cannot be considered apart from the space and this situation results in the production of power through space.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":"125 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90276803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-28DOI: 10.4305/metu.jfa.2022.1.3
B. Aktaş, Betül Gürtekin, Harun Kaygan, Özgün Dilek, A. Özçelik, Fazıl Akın, Elif Büyükkeçeci
{"title":"Human-Thing Relations in Design: A Framework Based on Postphenomenology and Material Engagement Theory","authors":"B. Aktaş, Betül Gürtekin, Harun Kaygan, Özgün Dilek, A. Özçelik, Fazıl Akın, Elif Büyükkeçeci","doi":"10.4305/metu.jfa.2022.1.3","DOIUrl":"https://doi.org/10.4305/metu.jfa.2022.1.3","url":null,"abstract":"","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":"48 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73375529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-18DOI: 10.4305/metu.jfa.2022.1.5
Özge Cordan, Talia Özcan Aktan
One of the biggest forced mass migrations of the twenty-first century originated in the Syrian Arab Republic due to political conflict, which was turned into a civil war (Kavas et al., 2019). Syrian migrants are therefore considered refugees who were involuntarily displaced from their homelands. According to the United Nations High Commissioner for Refugees, “[o]ver 5.6 million people have fled Syria since 2011, seeking safety in Lebanon, Turkey, Jordan, and beyond”. Turkey, which does not consider Syrians refugees, gave them temporary protection in 2014 (Directorate General of Migration Management [DGMM], 2022), and also hosts the largest number of Syrians—currently more than 3.6 million (UNHCR, 2022).
21世纪最大的被迫大规模移民之一起源于阿拉伯叙利亚共和国，原因是政治冲突，后来演变成内战(Kavas et al.， 2019)。因此，叙利亚移民被视为非自愿离开家园的难民。据联合国难民事务高级专员称，“自2011年以来，已有560多万人逃离叙利亚，在黎巴嫩、土耳其、约旦等地寻求安全。”土耳其不考虑叙利亚难民，在2014年为他们提供了临时保护(移民管理总局[DGMM]， 2022年)，也是收容叙利亚难民人数最多的国家——目前超过360万(UNHCR, 2022年)。
{"title":"Adaptation of Residential Interiors for Low and Middle-Income Syrians Living in Sultanbeyli, Turkey","authors":"Özge Cordan, Talia Özcan Aktan","doi":"10.4305/metu.jfa.2022.1.5","DOIUrl":"https://doi.org/10.4305/metu.jfa.2022.1.5","url":null,"abstract":"One of the biggest forced mass migrations of the twenty-first century originated in the Syrian Arab Republic due to political conflict, which was turned into a civil war (Kavas et al., 2019). Syrian migrants are therefore considered refugees who were involuntarily displaced from their homelands. According to the United Nations High Commissioner for Refugees, “[o]ver 5.6 million people have fled Syria since 2011, seeking safety in Lebanon, Turkey, Jordan, and beyond”. Turkey, which does not consider Syrians refugees, gave them temporary protection in 2014 (Directorate General of Migration Management [DGMM], 2022), and also hosts the largest number of Syrians—currently more than 3.6 million (UNHCR, 2022).","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":"111 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89519389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-18DOI: 10.4305/metu.jfa.2022.1.4
H. E. Oskay
From cartographic mapping to the linear perspective, the technics of geometrical representation of our immediate surroundings, the technics of picturing the world are deeply connected with an urge to give an order to it. The ability to depict the world allows us to understand our agency in its forming and to make it the subject of our actions. While this spatial knowledge enables us to estimate and foresee our acts in a perspective, it also provides a crucial foundation for governing human lives. In this line, the current imaging technologies help us to pursue this deep-seated desire. As the world becomes an object of observation, surveillance, and control, the distinctions between the subject and object, the person at the center of the image, and the world outside wither.
{"title":"Optical Tactics for Spatial Justice in the Works of Forensic Architecture and Hito Steyerl","authors":"H. E. Oskay","doi":"10.4305/metu.jfa.2022.1.4","DOIUrl":"https://doi.org/10.4305/metu.jfa.2022.1.4","url":null,"abstract":"From cartographic mapping to the linear perspective, the technics of geometrical representation of our immediate surroundings, the technics of picturing the world are deeply connected with an urge to give an order to it. The ability to depict the world allows us to understand our agency in its forming and to make it the subject of our actions. While this spatial knowledge enables us to estimate and foresee our acts in a perspective, it also provides a crucial foundation for governing human lives. In this line, the current imaging technologies help us to pursue this deep-seated desire. As the world becomes an object of observation, surveillance, and control, the distinctions between the subject and object, the person at the center of the image, and the world outside wither.","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88702346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-07DOI: 10.4305/metu.jfa.2022.1.2
Ali Cengi̇zkan
{"title":"Ankara \"Yeni Şehir”in Kuruluşu: Erken Cumhuriyet Konutunu Anlamak","authors":"Ali Cengi̇zkan","doi":"10.4305/metu.jfa.2022.1.2","DOIUrl":"https://doi.org/10.4305/metu.jfa.2022.1.2","url":null,"abstract":"","PeriodicalId":44236,"journal":{"name":"METU Journal of the Faculty of Architecture","volume":"9 12 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80538281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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